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The Inner Traveler

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  • medit8ionsociety
    To all members of the Meditation Society of America and subscribers to The Inner Traveler newsletter: The new issue is now done and will be placed at a URL as
    Message 1 of 12 , Oct 25, 2002
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      To all members of the Meditation Society of America and subscribers
      to The Inner Traveler newsletter:
      The new issue is now done and will be placed at a URL as soon as our
      web master can get to it. You will be notified of the URL as soon as
      possible, but if you don't want to wait, I can attach the whole issue
      to an Email and send it to you as an attachment right away. The file
      is fairly large once again (2.59MB - 28 pages), and will take a
      little while to download if you don't have a high speed connection.
      But I'm confident that you will find it to be one of the finest
      publications ever dealing with consciousness, and well worth the
      download time. This is our 10th issue, and it is a privledge to be
      able to share this wonder-full knowledge. Thank you to all who have
      contributed art and articles, and to all those who have supported
      this project.
      If you want me to Email you an attached copy, please contact me at:
      medit8@...
      Peace and blessings,
      Bob Rose
    • medit8ionsociety
      The new issue of The Inner Traveler is ready to go to cyber-press! It is 30 pages long and necessitates a 3.2 MB file, so will be quite a long (20 minutes or
      Message 2 of 12 , Mar 25 9:03 PM
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        The new issue of The Inner Traveler is ready to go to cyber-press! It
        is 30 pages long and necessitates a 3.2 MB file, so will be quite a
        long (20 minutes or so at 56k) download, unless you have a high speed
        connection. I'll be making the URL available here as soon as our web
        master uploads it. If anyone is interested and doesn't want to wait,
        please email me, and I'll email it to you as a pdf attachment. We'll
        be sending out CD versions of it to our contributing artists and
        authors very soon, and will eventually send out hard copies (on paper)
        to them as soon as we can get to it. There are thousands of people who
        will be reading it, and we have tried to once again gather the very
        best articles and art being shared anywhere in any publication dealing
        with meditation and consciousness. I think we have succeeded. As a
        matter of fact, we have been blessed with so much wonder-full material
        that we had to use the sacred "flip a coin" method to see what would
        be included in this issue. So, what you will see is just what the
        universe intended. But then again, isn't that always the case about
        everything:-) We can never count on another heartbeat, so to state
        something in the future will occur, is just a guess, but I'm making
        one now, and that is that The Inner Traveler will continue to be
        beneficial and enjoyable for quite some time to come. And this is
        because so many wise and talented people have been gracious and
        generous with allowing us to share their great gifts with you. Thank
        you to everyone involved.
        Peace and blessings,
        Bob
      • G
        ... The new issue of The Inner Traveler is ready to go to cyber-press! It is 30 pages long and necessitates a 3.2 MB file, so will be quite a long (20 minutes
        Message 3 of 12 , Mar 25 9:45 PM
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          --- In meditationsocietyofamerica@yahoogroups.com,
          medit8ionsociety <no_reply@y...> wrote:
          >
          The new issue of The Inner Traveler is ready to go to
          cyber-press! It is 30 pages long and necessitates a 3.2 MB file,
          so will be quite a long (20 minutes or so at 56k) download,
          unless you have a high speed connection. I'll be making the URL
          available here as soon as our web master uploads it. If anyone
          is interested and doesn't want to wait, please email me, and I'll
          email it to you as a pdf attachment. We'll be sending out CD
          versions of it to our contributing artists and authors very soon,
          and will eventually send out hard copies (on paper) to them as
          soon as we can get to it. There are thousands of people who
          > will be reading it, and we have tried to once again gather the
          very best articles and art being shared anywhere in any
          publication dealing with meditation and consciousness. I think
          we have succeeded. As a matter of fact, we have been blessed
          with so much wonder-full material that we had to use the sacred
          "flip a coin" method to see what would be included in this issue.
          So, what you will see is just what the universe intended. But then
          again, isn't that always the case about everything:-) We can never
          count on another heartbeat, so to state something in the future
          will occur, is just a guess, but I'm making one now, and that is
          that The Inner Traveler will continue to be beneficial and
          enjoyable for quite some time to come. And this is
          > because so many wise and talented people have been
          gracious and generous with allowing us to share their great gifts
          with you. Thank you to everyone involved.
          > Peace and blessings,
          > Bob

          G: Congratulations on another issue....
          sounds like you have enough left over for a running start on
          the next one.... what a large production to undertake ... may
          many thousands more be touched ...

          There is so much that could be shared ... may it start some
          on a path - may it establish many along the way - may keys
          be found to unlock the treasures that have always been....

          Another issue to savor ....
        • satkartar7
          medit8ionsociety wrote: and we have tried to once again gather the very best articles and art being shared anywhere in any publication
          Message 4 of 12 , Mar 26 12:48 AM
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            medit8ionsociety <no_reply@y...> wrote:
            and we have tried to once again gather the very
            > best articles and art being shared anywhere in any publication dealing
            > with meditation and consciousness.

            Wilber transpersonal art


            Ken Wilber wrote the essay "To See
            a World -- Art and the I of the
            Beholder" for an exhibition of
            Anselm Kiefer (see the October 21
            entry in One Taste, pp. 260-269).
            The November 12 entry contained some
            technical points related to that
            essay, which were deleted from the
            final version of One Taste. For
            the interested reader those points
            are published below for the first
            time, with permission of the author).

            To See A World
            Some technical points
            Ken Wilber

            "To See a World," which I wrote
            for the Anselm Kiefer exhibit,
            reminds me how difficult it is,
            at this point, to write short
            pieces. If I have anything new or
            fresh to say, it is because of
            the overall "big picture" that I
            have tried to develop; and yet, in
            order to use that big picture, I
            have to introduce it to the reader
            first.

            So I have to find short, simple
            ways to summarize what is, after
            all, rather complex material, and
            this is a very dicey game. I find
            that often I am forced to use not
            just simple, but simplistic,
            summaries—not just short and
            accurate but short and slightly
            inaccurate.

            In the Kiefer piece, for example,
            I say that each individual has
            available the entire spectrum of
            worldviews. That is fine as a
            simplistic summary, but technically,
            each individual has available the
            entire spectrum of basic
            structures (or the basic levels
            in the overall spectrum of
            consciousness, matter to body to
            mind to soul to spirit); but
            worldviews are collectively shared
            perceptions, and these do not
            reside in individuals alone;
            moreover, the surface features
            necessary to flesh out the deep
            features of the basic structures
            are provided only by cultural
            contexts, and those do not reside
            in individuals either.

            Nonetheless, each basic structure
            carries with it the main cognitive
            ingredients that will under-grid a
            particular worldview, and since
            I did not have the space to go into
            all these details, as a shortcut I
            simply said all individuals have
            available to them the entire
            spectrum of worldviews.

            What often happens is that, when
            somebody in our culture has a
            transpersonal peak experience,
            they will clothe that experience
            in the surface structures of our non-transpersonal culture, often with
            strange or sad results. This is
            why we await the new symbols of
            a future transpersonal religion,
            and this is where artistscan—and
            will—help immeasurably. In the
            meantime, individuals still have
            access to these higher levels of
            the spectrum of consciousness, but
            they find little support for them
            in the culture at large, so their
            worldviews are usually shaped by
            various micro-communities in which
            they find themselves, and these
            micro-communities (such as the
            avant-garde) are almost always
            alienated from the larger culture
            (precisely because, at their best,
            they are tapping into higher
            domains not officially recognized
            by conventional reality). So the
            general points of the essay are
            still accurate and the conclusion
            is still sound (I wouldn't have
            used the simplistic summary
            otherwise); but it does point up
            the difficulty of getting these
            ideas across in a short space.

            The Kiefer essay is based on the
            theory of integral semiotics that
            I outlined in The Eye of Spirit
            [chapter 3, note 12]. In linguistics,
            it is common to speak of
            signifiers, signifieds, referents,
            semantics, and syntax. For example,
            the word "dog." The written or
            material word "dog" is the signifier.

            What comes to your mind when you
            read the word "dog" is the signified
            The actual dog is the referent.
            The semantics of the word "dog"
            is its meaning, its referent, or
            what the word actually "points to"
            The grammatical structure that
            the linguistic word "dog" exists
            in is the syntax.

            One of the main controversies in
            semiotics (or the overall meaning of
            a word) is how to relate these
            various symbolic entities. And my
            point is that these four main
            entities (signifier, signified,
            semantic, and syntax) are actually,
            precisely, the four quadrants of
            any sign. If this is true, then
            we will have, arguably for the first
            time, an "integral semiotics" that
            explicates these four ingredients,
            which are essential in creating all
            meaning and significance.

            Thus, signifiers are
            Upper Right quadrant (the exterior
            words and written symbols);
            signifieds are Upper Left (the
            interior ideas andpsychological
            states evoked by signifiers);
            syntax is Lower Right (the formal
            linguistic system and its
            grammatical structures); and
            semantics is Lower Left
            (collective cultural meaning,
            values, referents, and worldviews).

            All referents exist in a particular
            worldview or worldspace (Lower
            Left), and artists can paint,
            depict, or otherwise express
            those worldspaces (this is what
            I meant by "magic objects,"
            "mythic objects," "existential
            objects," etc.). In other words,
            the semantics (the referent or
            meaning) of a painting depends
            upon the worldview to which the
            artist has access. By and large, an
            artist in a magical worldview will
            paint magical objects, an artist
            in the mythic worldview will paint
            mythic objects, and so on. This is
            because there is not a single
            pregiven world, but rather a
            spectrum of enacted (or co-created)
            worldviews, in which different
            perceptions, and therefore different
            objects, exist. And artists, just
            like everybody else, generally
            exist within a particular worldview,
            and by painting or depicting those
            worldviews, they render them more
            visible, one of their great services

            This also means that, in order for
            artists to paint higher worldspaces,
            they have to develop to those
            higher dimensions in their own being

            As Kandinsky said, "Construction on
            a purely spiritual basis is a slow
            business. The artist must train not
            only his eye but also his soul."
            This happens only as we transcend individuality, as Mondrian knew:
            "Through our intuition, the universal
            in us can become so active that
            it pushes aside our individuality
            Then art can reveal itself." Or,
            as Malevich put it, true art can
            begin "only if the superconscious
            were accorded the privilege of
            directing creation."

            If we look specifically at the
            psychic, subtle, causal, and nondual
            worldspaces, the idea is that
            perceptions in those domains can be
            depicted by artists who are alive to
            those domains in their own being.
            That gives us at least four levels
            of transpersonal art. Further,
            within those levels there are
            different types or ways of doing art

            There are different horizontal styles
            possible at each of those vertical
            levels. We have already looked at
            the vertical levels (psychic,
            subtle, causal, and nondual); here
            are a few of the most important
            styles: Transpersonal realism—this
            involves depicting the transpersonal
            terrain exactly as one sees it,
            more or less. Alex Grey, for example
            often draws the transpersonal
            realms precisely as he sees them,
            in a very realistic fashion (as well
            as doing numerous painting of a
            more symbolic nature). Ernst Fuchs
            and the Fantastic Realists attempt
            to paint inner spiritual visions
            exactly as they perceive them.

            Likewise the Surrealists attempted
            to depict inner realities graphically
            (some, but by no means all, of which
            were transpersonal). The acupuncture meridian lines, depicted on acupunctu=
            re
            charts, are an example of a realistic
            map of the etheric energy systems
            (which exist at the pranic level but
            tend to be more easily perceived at
            the psychic level). Much of Tibetan
            Buddhist art, which looks symbolic
            or metaphorical, is actually a
            realistic depiction of certain
            transpersonal realities (such as
            archetypal yidam or spiritual forms)
            that become directly seen and
            experienced in advanced meditation (particularly at the subtle level).

            Transpersonal impressionism—this is
            based on a direct transpersonal
            perception, but depicted in softer
            tones, easier lines, than the
            starker realism. Nonetheless,
            impressionism is still related in
            a somewhat realistic fashion to the
            event or perception it is depicting

            Zen paintings—in which bamboo trees,
            birds, lakes are depicted as soft,
            foggy, and misty—are not so much
            nature realism as transpersonal impressionism—the soft impression
            of the world no longer seen
            dualistically.

            But before we can truly understand
            impressionism, we need to contrast
            it with: Transpersonal
            expressionism—the conventional
            distinction between impressionism
            and expressionism is that the
            former is based on an external
            perception (e.g., a landscape),
            the latter on an internal perception
            (e.g., an emotional state). While
            there is some truth to that, the
            unfortunate implication is that the
            former is "real" or "realistic"
            and the latter is "merely
            subjective" and "not really real"

            But, stated as such, that is a
            completely misleading distinction.
            All perceptions exist in specific
            worldviews: a physical landscape
            exists in the sensorimotor
            worldspace, emotions exist in the
            pranic (or emotional-sexual)
            worldspace—or levels 1 and 2 in
            the Great Chain. Both are equally
            real. So typical impressionism
            and typical expressionism are both
            depicting real states, one external
            one internal. To say that
            impressionism is realistic (and thus
            based on something "really real")
            but expressionism is "merely
            subjective" (and not based on
            something that is "really real"),
            is simply to value the sensorimotor
            worldspace and deny the emotional
            worldspace, whereas in fact they
            are both equally real and equally
            existing levels in the Great
            Holarchy of Being. (In fact, the
            Great Nest theorists are unanimous
            that the pranic level, level 2, is
            actually more real than the physical
            level, level 1, because it has more
            depth and thus is closer to Spirit
            as transcendental Goal. Only in
            flatland, only in the modern
            wasteland, is the sensorimotor
            world—the world of scientific
            materialism and bodyism—made the
            only and ultimate reality.

            This is a reductionistic nightmare
            we need not share.)
            Likewise, the common distinction
            nature versus abstract—which is
            made by virtually all art critics
            —is completely mistaken in its
            implication, which is that nature
            painting is "representational,"
            whereas abstract painting is "nonrepresentational." That's
            very incorrect. A landscape painting
            represents or depicts states of
            nature, an abstract painting
            represents or depicts states of
            mind. Both are, in that sense, representational, because both
            the sensorimotor worldspace and
            the mental worldspace are real and
            existing landscapes. Nonetheless,
            the distinction is useful in this
            sense: impressionism (both
            conventional and transpersonal) is
            depicting states that are
            relatively objective to the
            painter's consciousness, while
            expressionism (both conventional
            and transpersonal) is depicting
            states that are relatively subjective
            to the painter's consciousness.

            That is true for both conventional
            and transpersonal art. To focus
            on the latter: In all cases of
            genuine transpersonal art—whether
            realist, impressionist, or
            expressionist—the artist is
            attempting to depict or convey
            some spiritual, transrational, supraindividual state, feeling,
            awareness, or insight, through the
            chosen medium (music, painting,
            dance, poetry, etc.). But with
            transpersonal expressionism, these
            states are still "too close" to be
            seen more objectively or
            realistically, and thus artists
            often feel they are trying to
            convey something for which they
            don't quite have the vocabulary.
            Unlike transpersonal impressionism
            and realism, where the events or
            states are seen fairly clearly,
            transpersonal expressionism always
            has a sense of a struggle to convey

            Occasionally, transpersonal
            expressionism simply communicates
            states that intrinsically do not
            lend themselves to objective,
            impressionistic, or realistic modes

            Much of Rumi's poetry; some of the
            painting of Kandinsky, Mondrian,
            Malevich, and Rothko; and many
            spiritual hymns are good examples
            of transpersonal expressionism.

            Technical point: the reason this
            has always been an incredibly
            slippery distinction—impressionism
            versus expressionism, the former
            being objective and the latter
            being subjective—is that in the
            growth and development of
            consciousness, what is subject at
            one stage becomes object at the
            next. Thus, the infant starts out
            identified with his body; his
            subjective self is his sensory
            body; he cannot "objectify" the
            body or see it as an object. But
            when the mind emerges, the child
            identifies with it: the mind becomes
            the new subject, which can then
            witness the body as an object.

            When the soul emerges, it becomes
            the new self or subject, which can
            then witness both the mind and
            the body. Finally, with the
            emergence of I-I, or the pure empty

            Witness—which is the primordial
            Self or Absolute Subjectivity—the
            soul, the mind, and the body can
            all be impartially witnessed: one
            has ceased identifying exclusively
            with any of them, so that—with One
            Taste—one can identify as well
            with the entire world. In each
            case, we dis-identify with a
            lower level (which becomes an
            object of awareness), identify
            with a higher level (which becomes
            the new self or subject of
            awareness), only to eventually
            dis-identify with that. Thus, what
            is subject at one stage becomes
            object at the next, until both
            subject and object are exhausted
            and One Taste alone shines. (This
            is just another example of
            Whitehead's dynamic of prehension,
            which I consider fundamental: the
            subject of this moment becomes the
            object of the next moment's subject

            Human macro development—the broad
            stages of human growth and
            development—follow Whitehead's
            micro development—the moment-
            to-moment unfolding of
            experience—as we would expect,
            since both are simply examples of
            the major dynamic of evolution
            itself, which is to holarchically
            transcend and include.)

            But this means that what artists
            might render expressionistically
            (or subjectively) at one stage of
            their development, they might
            render more realistically or impressionistically (or objectively)
            at the next stage—precisely because
            their subjective world has now
            become more objective: they have
            transcended the earlier worldspace—dis-identified with it,
            detached from it to some degree—and
            thus they can see it more clearly.

            They are no longer expressing a lower
            subject, but realistically looking
            at it as an object. At the same
            time, they are now identified with
            the next higher worldview—the
            next higher self or subject—which,
            being "too close" to see clearly,
            they will most likely have to
            express in subjective,
            expressionistic tones.

            This is why the line between
            expressionism and impressionism
            is always sliding: the line
            between subjective and objective
            is likewise sliding (the subject
            of one stage is the object of the
            next). Still, it is a useful
            distinction, and one I will retain
            Traditionally, an artist wishing
            to depict the transpersonal domain
            first enters the appropriate state
            of consciousness—psychic, subtle,
            causal, or nondual—and then simply
            depicts what he or she sees (using
            the chosen medium—poetry, music,
            dance, narrative, painting, etc.
            —and according to a chosen style).

            This results in transpersonal
            realism, transpersonal
            impressionism, or transpersonal expressionism—in poetry, music,
            dance, narrative, painting, and
            so on—across the transpersonal
            spectrum. But in all cases of
            genuine transpersonal art, the
            artist enters the appropriate
            higher state and then attempts to
            convey that state artistically.
            The main point of doing so is not
            merely or even especially self-
            expression, but to help elicit or
            evoke these higher states in the
            viewers of the art. This is why
            all magnificent art has a moral
            depth to it: it talks to us from
            our own higher possibilities, it
            pulls us to our own greater
            destinies, it calls to us from
            what we can become.

            Transpersonal realism,
            impressionism, and expressionism
            are the three main styles of
            authentic transpersonal art (whether
            expressed in poetry, music, dance,
            narrative, painting, etc.). What
            renders them authentic is not the
            content per se, but the depth of
            the artist conveying them. To be
            authentic, the artist must be
            speaking, in whatever style,
            directly from the higher state
            itself (psychic, subtle, causal,
            or nondual). And a critic can judge
            this if and only if the critic is
            alive to these higher domains as well

            That gives us a grid of three styles
            across four levels, or twelve
            distinctive types of authentic
            transpersonal art. But before I
            give examples of each, there is one
            other major style, less profound
            but much more common, that needs
            to be discussed, and that is
            transpersonal symbolism.

            A transpersonal symbol is a symbol
            whose actual referent is in any
            of the transpersonal levels or
            realms. Words like "spirit,"
            "buddha-nature," "deity," and
            "emptiness" are written symbols
            (or signifiers) of actual
            realities (or referents) that can
            be known directly in the
            transpersonal realms of development

            But until those realities are
            experienced, the words remain
            symbols only.

            It is often said that mystical
            experiences are ineffable.
            Absolutely not true. Or rather,
            no more true than for any other
            experience. Sex is ineffable, the
            taste of a cake is ineffable,
            listening to Bach music is ineffable,
            watching a sunset is ineffable.

            You know the actual meaning of
            those words, not by listening to
            the words, but by having the
            experiences to which they refer.
            If I say "orgasm," and you've had
            that experience, then you will
            know what the word means. If not,
            not. Likewise with "spirit,"
            "godhead," "cessation," "interior
            luminosity"—if you have had those
            experiences, you will know what
            those words mean. If not, not.
            Words are just as adequate, or
            inadequate, for mysticism as for
            sex or any other experience; it's
            just that mystical experiences are
            rarer than orgasms and sunsets,
            so people say you can't "talk" about
            them at all, which is silly—of
            course you can, if you've had the
            experience. Zen masters talk about
            Emptiness all the time!, and they
            know exactly what they mean by
            the words (and the words are quite
            adequate), because they have had
            the experience.

            So we can say: all experiences are
            equally ineffable, in the sense
            that words will never substitute
            for the experience itself (in sex,
            sunsets, or satori); but if you've
            had the particular experience,
            words do just fine in symbolically representing them (in sex, sunsets,
            and satori). The key is: you must
            have the experience to know what
            the words actually mean (technically,
            you need the developmental
            signified in order to know the
            corresponding referent of the
            particular signifier). A symbol or
            sign, in all cases, simply
            represents an experience in some
            domain (gross, subtle, or causal).

            Thus, for example, the word "sunset"
            represents an experience in the
            sensorimotor worldspace. "Anger"
            represents an experience in the
            pranic or emotional-sexual worldspace

            "The Virgin Mary" represents an
            experience in the mythic worldspace
            The mathematical symbol "negative
            one" represents an experience in
            the rational worldspace. "Kundalini"
            is an experience in the psychic
            worldspace. The words "complete
            mental cessation" represent an
            experience in the causal worldspace

            And so on. Thus, "transpersonal
            symbolism" means any symbol or
            sign whose referent is in the
            transpersonal domains (psychic,
            subtle, causal, or nondual).

            Now, it is in the nature of all
            symbols (conventional and
            transpersonal) that they do not
            actually look like that which they
            symbolize. The symbol "dog" does
            not look like a real dog. The word
            "Spirit " does not look like Spirit

            Symbols, remember, stand for (or
            represent) a direct experience, and
            as such, they themselves do not
            look like, nor can they substitute
            for, that experience.

            In art, this leads to several important distinctions. Let's say that I wish=
            to paint a picture that protests human aggression. If I do this realistical=
            ly, I might actually paint, say, a firing squad shooting a man (as Goya did)=
            . The painting looks more or less like the real scene. It is not symbolic, i=
            t is realist (or impressionist). But I can also do a symbolic painting, whic=
            h will use other images in a symbolic fashion—perhaps doves falling to their=
            death, or hearts with swords pushed through them, and so on. These symbols =
            do not look like the real situation I am protesting, but they stand for, or =
            symbolically represent, what I have in mind, namely, the horrors of human ag=
            gression. The same is true for transpersonal realism and transpersonal symbo=
            lism. The former looks like what it depicts, the latter does not. Thus, the =
            painting of a luminous tunnel of vibrant light extending above and beyond th=
            e crown of the head is an example of transpersonal realism, because that is =
            a more-or-less direct depiction of a common experience in the subtle domain.=

            But the hermetic drawings of Robert Fludd, for example, are merely a transp=
            ersonal symbolism—the drawings look like nothing in the actual transpersonal=
            domains; they are merely mental symbols representing the fact that higher d=
            omains exist, but they do not themselves necessarily stem directly or immedi=
            ately from those higher domains. This distinction between realism and symbol=
            ism is important in transpersonal art, because 1) the meaning of a symbol is=
            the experience it stands for, 2) transpersonal symbols stand for experience=
            s in the transpersonal domains, 3) few people have those experiences. That m=
            eans that most transpersonal art remains merely symbolic for most people—the=
            y know only the symbols, not the experiences that give the actual meaning.
            So transpersonal symbolism is, as it were, a diluted, weaker form of transp=
            ersonal art. It symbolizes higher realms, but does not itself directly depic=
            t those realms, because it looks like nothing in those higher realms. It is =
            a mental symbol that reminds people that there are higher realms, but it giv=
            es no indication what those higher realms are actually like. For this reason=
            , transpersonal symbolism (unlike realism, impressionism, and expressionism)=
            does not, generally speaking, have the power to elicit those higher realms =
            in viewers. It is forged in the mental domain and remains confined to the me=
            ntal domain, but at least it points to higher and deeper occasions, and to t=
            hat extent is a valid, useful form of transpersonal art.
            Each of those four styles (realism, impressionism, expressionism, symbolism=
            ) can be applied to each of the four major transpersonal realms (psychic, su=
            btle, causal, nondual). This gives us a grid of sixteen types of transperson=
            al (TP) art. Here are a few quick examples from several of them:
            Symbolic—Most typical transpersonal art, myths, parables, and narratives ar=
            e symbolic only; they are not direct depictions (realist or impressionist) o=
            f the transpersonal domains, but merely symbols that suggest or hint at the =
            transpersonal domains. This is also true for many Jungian archetypes and com=
            mon mythological motifs. Of course, not all myths and archetypes are even sy=
            mbolic of the transrational realms; most, in fact, are symbolic of the prera=
            tional realms (a confusion of which is still rampant in spiritual circles), =
            and they exert not a transgressive but a regressive pull in consciousness. M=
            uch "religious symbolism" (Moses parting the Red Sea, the Virgin birth, the =
            earth resting on a Hindu serpent, etc.) has its referent in the magic and my=
            thic—not psychic and subtle—worldviews.
            Nonetheless, authentic transpersonal symbolism can be found in many of the =
            Tantras (East and West), where extensive symbolism is used to represent high=
            er stages of transpersonal development. Likewise, the "empty circle" drawn b=
            y Zen calligraphers is TP symbolic of the causal (or pure cessation; the cir=
            cle does not look like Emptiness, it merely represents it). Similarly, "One =
            Stroke" in Tibetan calligraphy (a single, bold, downward mark on the paper) =
            is TP symbolic of Ati or the nondual.
            Impressionist—Many mandalas are a TP impressionism of the subtle dimension =
            (in contemplation, the inward eye often perceives symmetrical, billowing, lu=
            minous patterns—in other words, mandalas; usually these are impressionistic,=
            but in Vajrayana they are rendered in an extremely realist fashion, with mi=
            nutely detailed aspects, as can be seen in most thangka paintings; these are=
            not symbolic, they are realist, for they depict inner realities that can be=
            directly perceived in meditation). The blue-black background of many Tibeta=
            n thangkas is a TP impressionism of the causal (in states of pure cessation =
            or unmanifest absorption, one is directly immersed in a vast, infinite sea o=
            f unmanifest or "black" unborn reality, which is often impressionistically r=
            endered as a blue-black color in thangkas; similarly, Samantabhadra, the "At=
            i-Buddha," is always painted blue-black, shorn of all ornaments or manifest =
            qualities, giving the impression of naked awareness). The best of Zen landsc=
            apes are a TP impressionism of nondual Suchness (Suchness is not a reality a=
            part from other realities but the "isness" or "thusness" of any and all doma=
            ins; Zen artists often depict nature in its suchness, and they do so in impr=
            essionistic, not harsh realist, terms, because nature itself is not Spirit b=
            ut a manifestation of Spirit; specifically, nature is the Nirmanakaya, not t=
            he Dharmakaya, but the former is a manifestation of the latter and thus a fi=
            tting object of a "Suchness painting").
            Expressionist—Mondrian, Kandinsky, Malevich, Brancusi, and Rothko are often=
            a TP expressionism of the mental-to-psychic dimension (as these artists the=
            mselves made clear, they were attempting to express internal mental states o=
            r ideas, particularly as they verged on transpersonal, spiritual, or univers=
            al themes). Some of Bach, Mozart, and later Beethoven are a TP expressionism=
            of the subtle (the "music of the spheres"). There is a dual emotional tone =
            in many Zen landscapes (called sabi and wabi) that is a TP expressionism of =
            Emptiness (which is vaguely intuited and given amorphous expression in these=
            dual tones). Realist—The chakra meridian maps are a TP realism of the psych=
            ic dimension. A painting of the "blue pearl" is a TP realism of the subtle (=
            i.e., the blue pearl is a direct and unmistakable perception in certain subt=
            le stages of kundalini meditation).

            Alex Grey, Ernst Fuchs, and
            Fantastic Realists are TP realists
            in many instances. Most meditative
            texts and sutras are a TP realism (descriptive phenomenology) of the
            transpersonal realms—they are not
            symbolic, they are realist! And
            here's a superb TP realism of
            nondual Suchness (from Basho):

            Still pond,

            A frog jumps in,
            Plop!
          • Jeff Belyea
            Who reads The Inner Traveler? It is so beautiful and instructive and enlightening. God has blessed Bob Rose with an experiential knowledge of a type known
            Message 5 of 12 , Mar 27 5:07 AM
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              Who reads The Inner Traveler?

              It is so beautiful and
              instructive and enlightening.

              God has blessed Bob Rose
              with an experiential
              knowledge of a type known
              clearly and uniquely by
              many as, enlightenment.

              And he shares his light
              beautifully.

              Reading his magazine
              is pure bliss.


              Papajeff
            • devianandi
              ... where is it?
              Message 6 of 12 , Mar 27 9:53 AM
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                --- In meditationsocietyofamerica@yahoogroups.com, "Jeff Belyea"
                <jeff@s...> wrote:
                > Who reads The Inner Traveler?
                >
                > It is so beautiful and
                > instructive and enlightening.
                >
                > God has blessed Bob Rose
                > with an experiential
                > knowledge of a type known
                > clearly and uniquely by
                > many as, enlightenment.
                >
                > And he shares his light
                > beautifully.
                >
                > Reading his magazine
                > is pure bliss.
                >
                >
                > Papajeff


                where is it?
              • medit8ionsociety
                ... From post # 5318: The Inner Traveler The new issue of The Inner Traveler is ready to go to cyber-press! It is 30 pages long and necessitates a 3.2 MB file,
                Message 7 of 12 , Mar 27 10:03 AM
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                  --- In meditationsocietyofamerica@yahoogroups.com, devianandi
                  <no_reply@y...> wrote:
                  > --- In meditationsocietyofamerica@yahoogroups.com, "Jeff Belyea"
                  > <jeff@s...> wrote:
                  > > Who reads The Inner Traveler?
                  > >
                  > > It is so beautiful and
                  > > instructive and enlightening.
                  > >
                  > > God has blessed Bob Rose
                  > > with an experiential
                  > > knowledge of a type known
                  > > clearly and uniquely by
                  > > many as, enlightenment.
                  > >
                  > > And he shares his light
                  > > beautifully.
                  > >
                  > > Reading his magazine
                  > > is pure bliss.
                  > >
                  > >
                  > > Papajeff
                  >
                  >
                  > where is it?

                  From post # 5318:

                  The Inner Traveler

                  The new issue of The Inner Traveler is ready to go to cyber-press! It
                  is 30 pages long and necessitates a 3.2 MB file, so will be quite a
                  long (20 minutes or so at 56k) download, unless you have a high speed
                  connection. I'll be making the URL available here as soon as our web
                  master uploads it. If anyone is interested and doesn't want to wait,
                  please email me, and I'll email it to you as a pdf attachment. We'll
                  be sending out CD versions of it to our contributing artists and
                  authors very soon, and will eventually send out hard copies (on paper)
                  to them as soon as we can get to it. There are thousands of people who
                  will be reading it, and we have tried to once again gather the very
                  best articles and art being shared anywhere in any publication dealing
                  with meditation and consciousness. I think we have succeeded. As a
                  matter of fact, we have been blessed with so much wonder-full material
                  that we had to use the sacred "flip a coin" method to see what would
                  be included in this issue. So, what you will see is just what the
                  universe intended. But then again, isn't that always the case about
                  everything:-) We can never count on another heartbeat, so to state
                  something in the future will occur, is just a guess, but I'm making
                  one now, and that is that The Inner Traveler will continue to be
                  beneficial and enjoyable for quite some time to come. And this is
                  because so many wise and talented people have been gracious and
                  generous with allowing us to share their great gifts with you. Thank
                  you to everyone involved.
                  Peace and blessings,
                  Bob
                • medit8ionsociety
                  As per Devi s request, the new issue of The Inner Traveler, the newsletter of the Meditation Society of America can be downloaded at:
                  Message 8 of 12 , May 8, 2003
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                    As per Devi's request, the new issue of The Inner Traveler, the
                    newsletter of the Meditation Society of America can be downloaded at:
                    http://www.meditationsociety.com/itV216168/index.html
                    It's a large file (3.2 MB), and will take about 20 minutes to download
                    at 56k (or 20 seconds with a high speed connection and a Mac, as Sri
                    Geneji has informed me). Enjoy!
                    Peace and blessings,
                    Bob

                    PS: As to the Fish and Karta and Devi.... do we need a Judge Karta and
                    Devi group? :-)
                  • satkartar7
                    ... dear Bob, I can t download without a hard-drive I am on a toy called webtv with resolution 2.00 I was hoping Gene will turn the Pdf; which I can t open
                    Message 9 of 12 , May 8, 2003
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                      > http://www.meditationsociety.com/itV216168/index.html
                      > It's a large file (3.2 MB), and will take about 20 minutes to download
                      > at 56k (or 20 seconds with a high speed connection and a Mac, as Sri
                      > Geneji has informed me). Enjoy!
                      > Peace and blessings,
                      > Bob

                      dear Bob, I can't download without a
                      hard-drive I am on a toy called webtv
                      with resolution 2.00

                      I was hoping Gene will turn the Pdf;
                      which I can't open either into HTML

                      I could take the Pdf format and covert
                      it, but I need the proper Url for it
                      please

                      Love, Karta
                    • medit8ionsociety
                      Dear Karta, Here s a suggestion: Give this URL to someone with a PC or Mac and ask them to download it, and print it out for you. I don t know for sure, but I
                      Message 10 of 12 , May 9, 2003
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                        Dear Karta,
                        Here's a suggestion:
                        Give this URL to someone with a PC or Mac and ask them to download it,
                        and print it out for you. I don't know for sure, but I think the HTML
                        format would not let you see the beauty of the art. Immodestly
                        speaking, The Inner Traveler not only has the best authors of any
                        publication dealing with meditation, enlightenment, etc., but also the
                        best artists. Each work of art in it is a meditation and worth
                        meditating about, and I'd hate to have that feature of The Inner
                        Traveler not available to you. If this is not possible, let me know
                        and we'll find a way for you to see, enjoy, and benefit from it.
                        Peace and blessings,
                        Bob
                        "satkartar7" <mi_nok@y...> wrote:
                        > > http://www.meditationsociety.com/itV216168/index.html
                        > > It's a large file (3.2 MB), and will take about 20 minutes to download
                        > > at 56k (or 20 seconds with a high speed connection and a Mac, as Sri
                        > > Geneji has informed me). Enjoy!
                        > > Peace and blessings,
                        > > Bob
                        >
                        > dear Bob, I can't download without a
                        > hard-drive I am on a toy called webtv
                        > with resolution 2.00
                        >
                        > I was hoping Gene will turn the Pdf;
                        > which I can't open either into HTML
                        >
                        > I could take the Pdf format and covert
                        > it, but I need the proper Url for it
                        > please
                        >
                        > Love, Karta
                      • medit8ionsociety
                        Dear List Member, We are very pleased to announce the posting of the new issue of The Inner Traveler, the newsletter of the Meditation Society of America. It
                        Message 11 of 12 , Nov 13, 2003
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                          Dear List Member,

                          We are very pleased to announce the posting of the new issue of The
                          Inner Traveler, the newsletter of the Meditation Society of America.
                          It is a quadruple issue and is 40 pages long. Thanks to the "best in
                          the world" quality artists and authors who have contributed to it, it
                          is so full of wisdom, beauty and love that we will soon start using
                          this issue as our sample. Our web master has posted the URL for the
                          whole issue (4.7MB), and also has posted 4 separate parts of about 10
                          pages and 1.2MB each, to make the download less long for those who
                          don't have broadband. Here's the URL:
                          http://www.meditationsociety.com/itv229064/index.html

                          We feel that one of the best things that you can do is to share things
                          that help others deal with stress, and gain self knowledge and self
                          control, and that is our aim with The Inner Traveler. We are
                          suggesting that a good way to help others would be to print up copies
                          of The Inner Traveler and pass them out to your friends, family,
                          coworkers, and all those who you think could benefit from reading this
                          work of consciousness evolving concepts and methods.

                          We hope you will enjoy and benefit from this collaberative effort that
                          points to Truth from many different perspectives.

                          Peace and blessings,

                          Bob Rose, President,
                          Meditation Society of America

                          Web Site: http://meditationsociety.com
                          E-Mail: medit8@ meditationsociety.com
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